Rewrite
From Wes Anderson’s hearty and humorous The Phoenician Scheme to a new doc on pro-Gaza student protests at Columbia University, here are the best films to see this month
Out now
Wes Anderson has never been everyone’s cup of cinematic chai, but he serves up a rollicking good time with The Phoenician Scheme, which brings heart and humour to bear on his by-now customary smorgasbord for the senses. Blessed with note-perfect performances from Benicio Del Toro, Mia Threapleton and Michael Cera, it tells the story of Zsa-Zsa Korda (Del Toro), a shady international dealbroker (Del Toro) who decides to leave his fortune to his daughter, Liesl (Threapleton), a nun about to take her vows. Korda suspects his days are numbered after surviving various assassination attempts (an opening plane-crash sequence moves Anderson into unlikely blockbuster territory), and he brings Liesl along on a mission to secure backing for his mysterious legacy project, the ridiculous McGuffin of the title that brings face to face with a cavalcade of A-list cameos. The plot is pure seat-of-the-pants farce, of course, delivered with all of Anderson’s familiar deadpan precision. But it’s absolutely anchored by Del Toro, whose blunt awfulness as Korda meets its match in Liesl’s even-more blunt decency, and Cera, superb in a vowel-mangling turn as a timorous tutor who falls for Liesl. You might even say it’s Wes’s own Citizen Kane, with better hand-grenade jokes.
Read our interview with Michael Cera here.
From June 27
Hilde Coppi was a resistance fighter in Nazi Germany, executed less than nine months after giving birth while imprisoned for high treason. She’s the subject of Andreas Dresen’s wrenching new drama, which flits between her blossoming romance with Hans Coppi, a communist who enlists her help sending morse code messages to the Russians, and the days following her capture by the Nazis. Shot fluently in a realist style, Dresen’s film eschews spy-thriller tropes to focus on the twin love affairs at its heart – Hilde and Hans, and Hilde and her newborn son, who gives his mother strength to endure in jail. Graced with a moving performance from Liv Lisa Fries in the lead, it moves with understatement towards a climax that finds flashes of poetry in Coppi’s tragic end, without short-changing its brutality.
From June 13
John Maclean breathed strange new life into the Western with Slow West, his existential debut from 2015 starring Michael Fassbender and Kodi Smit-McPhee in his pre-Power of the Dog breakout. Transplanting his love of the genre to his native Scotland – Maclean was a member of St Andrews trip-hoppers The Beta Band in a former life – he returns with Tornado, a slow-burning outlaw thriller with a high body count but a lingering tang of disappointment. Tornado (Kōki) is the teenage daughter of Fujin (Shogun’s Takehiro Hira), a samurai warrior who’s somehow washed up in rural Scotland performing puppet shows for the locals. When Tornado spies her chance to make off with a sackload of gold belonging to a band of outlaws led by Tim Roth, she unleashes a chain of events that will rapidly spin out of control. But what sounds like a promising mash-up of genres falls flat thanks to a lacklustre script and characters that never really come to life, despite some fine, foreboding cinematography from Yorgos Lanthimos DP Robbie Ryan.
Out now
The pro-Gaza student protests that swept the globe last year are the subject of The Encampments, Michael T Workman and Kei Pritsker’s engrossing new doc that cuts to the quick of toxic debates surrounding the Israeli bombardment of Palestine. In April 2024, students at Columbia University in New York set up an encampment on faculty grounds to protest the school’s investment in companies linked to the genocide in Palestine. As the protests became the subject of increasingly unhinged media debate, students were threatened with expulsion, confronted by counter-protesters and, finally, the police in a shocking indictment of where the college’s priorities lay. It’s an urgent, gripping account of a story whose repercussions are still being felt around the world: while some western governments appear to be finally shifting their stance on the conflict in line with the public mood, one of the protest’s founders, Mahmoud Khalil, now sits in a Louisiana jail cell threatened with deportation, under President Trump’s drive to persecute political opponents.
From June 13
Molly Brown (Posy Sterling) is an east London mum who walks straight out of prison into a different nightmare: her ‘difficult’ mother, entrusted with the children while Molly served a four-month stretch for crimes undisclosed, has palmed off the kids to the local authorities, who have now placed them in foster care. To win back custody, homeless Molly must find a place for them to live – but, classed as a single person under government rules, she’s only able to apply for one-bedroom houses. Driven to distraction by her Kafkaesque predicament, she finds solace and sisterhood with old friend Amina (Idil Ahmed), who has problems of her own making ends meet. Drawn loosely from director Daisy-May Hudson’s own experiences, it’s an anguished, heartfelt debut beautifully carried by Sterling, who brings layers of intermingled pride and shame to her performance, and enjoys winning chemistry with Ahmed.
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
tags from
From Wes Anderson’s hearty and humorous The Phoenician Scheme to a new doc on pro-Gaza student protests at Columbia University, here are the best films to see this month
Out now
Wes Anderson has never been everyone’s cup of cinematic chai, but he serves up a rollicking good time with The Phoenician Scheme, which brings heart and humour to bear on his by-now customary smorgasbord for the senses. Blessed with note-perfect performances from Benicio Del Toro, Mia Threapleton and Michael Cera, it tells the story of Zsa-Zsa Korda (Del Toro), a shady international dealbroker (Del Toro) who decides to leave his fortune to his daughter, Liesl (Threapleton), a nun about to take her vows. Korda suspects his days are numbered after surviving various assassination attempts (an opening plane-crash sequence moves Anderson into unlikely blockbuster territory), and he brings Liesl along on a mission to secure backing for his mysterious legacy project, the ridiculous McGuffin of the title that brings face to face with a cavalcade of A-list cameos. The plot is pure seat-of-the-pants farce, of course, delivered with all of Anderson’s familiar deadpan precision. But it’s absolutely anchored by Del Toro, whose blunt awfulness as Korda meets its match in Liesl’s even-more blunt decency, and Cera, superb in a vowel-mangling turn as a timorous tutor who falls for Liesl. You might even say it’s Wes’s own Citizen Kane, with better hand-grenade jokes.
Read our interview with Michael Cera here.
From June 27
Hilde Coppi was a resistance fighter in Nazi Germany, executed less than nine months after giving birth while imprisoned for high treason. She’s the subject of Andreas Dresen’s wrenching new drama, which flits between her blossoming romance with Hans Coppi, a communist who enlists her help sending morse code messages to the Russians, and the days following her capture by the Nazis. Shot fluently in a realist style, Dresen’s film eschews spy-thriller tropes to focus on the twin love affairs at its heart – Hilde and Hans, and Hilde and her newborn son, who gives his mother strength to endure in jail. Graced with a moving performance from Liv Lisa Fries in the lead, it moves with understatement towards a climax that finds flashes of poetry in Coppi’s tragic end, without short-changing its brutality.
From June 13
John Maclean breathed strange new life into the Western with Slow West, his existential debut from 2015 starring Michael Fassbender and Kodi Smit-McPhee in his pre-Power of the Dog breakout. Transplanting his love of the genre to his native Scotland – Maclean was a member of St Andrews trip-hoppers The Beta Band in a former life – he returns with Tornado, a slow-burning outlaw thriller with a high body count but a lingering tang of disappointment. Tornado (Kōki) is the teenage daughter of Fujin (Shogun’s Takehiro Hira), a samurai warrior who’s somehow washed up in rural Scotland performing puppet shows for the locals. When Tornado spies her chance to make off with a sackload of gold belonging to a band of outlaws led by Tim Roth, she unleashes a chain of events that will rapidly spin out of control. But what sounds like a promising mash-up of genres falls flat thanks to a lacklustre script and characters that never really come to life, despite some fine, foreboding cinematography from Yorgos Lanthimos DP Robbie Ryan.
Out now
The pro-Gaza student protests that swept the globe last year are the subject of The Encampments, Michael T Workman and Kei Pritsker’s engrossing new doc that cuts to the quick of toxic debates surrounding the Israeli bombardment of Palestine. In April 2024, students at Columbia University in New York set up an encampment on faculty grounds to protest the school’s investment in companies linked to the genocide in Palestine. As the protests became the subject of increasingly unhinged media debate, students were threatened with expulsion, confronted by counter-protesters and, finally, the police in a shocking indictment of where the college’s priorities lay. It’s an urgent, gripping account of a story whose repercussions are still being felt around the world: while some western governments appear to be finally shifting their stance on the conflict in line with the public mood, one of the protest’s founders, Mahmoud Khalil, now sits in a Louisiana jail cell threatened with deportation, under President Trump’s drive to persecute political opponents.
From June 13
Molly Brown (Posy Sterling) is an east London mum who walks straight out of prison into a different nightmare: her ‘difficult’ mother, entrusted with the children while Molly served a four-month stretch for crimes undisclosed, has palmed off the kids to the local authorities, who have now placed them in foster care. To win back custody, homeless Molly must find a place for them to live – but, classed as a single person under government rules, she’s only able to apply for one-bedroom houses. Driven to distraction by her Kafkaesque predicament, she finds solace and sisterhood with old friend Amina (Idil Ahmed), who has problems of her own making ends meet. Drawn loosely from director Daisy-May Hudson’s own experiences, it’s an anguished, heartfelt debut beautifully carried by Sterling, who brings layers of intermingled pride and shame to her performance, and enjoys winning chemistry with Ahmed.
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
